Adam
by Erebus 2.0
Summary: Daniel Hazelton will come to learn the truth behind the world around him, and himself as well, in this prequel of sorts to the Matrix Trilogy (screenplay format)
1. Introduction

"ADAM"  
  
Update 08/20/2003 - Though I wrote "Adam" as a short fan screenplay (inspired by the "Animatrix" short that never was, but that I truly wanted to see), I've decided to split it up into novel-like sections. From the moment I saw it online, "Adam" seemed a little too wordy to have in one block. So, to make things easier for you (and more frequently read), I've broken "Adam" up into fitting chapters. I hope it works better this way.  
  
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Update 07/29/2003 - It's not my intention to have this piece perpetually updated. I've checked it over many times on paper and am happy with the majority of it. This first update is to fix some of the mess created by the conversion from .doc to .html, mainly the nasty little auto "..."s that word comes up with (hopefully that example one worked out, along with the ones that I had to correct in the body of the piece).  
  
However, technology can be a bitch (just ask Neo), and I expect that I'll have to fine tune things a few more times. I know, for instance, that the italics aren't coming through as I had hoped, so I'll look into those some other time. In the end, I hope that what you see on your screen is as close as possible to the format I intended.  
  
I may decide to rewrite some of this at some point in time, but it's not going to be in the immediate future. Maybe in a month or so I'll read this and go, "my God, this is all horrible. What was I thinking?" and be forced to slash and burn. For now, though, I don't have the patience. (How's that for a recommendation? Are you all excited to read this or what?)  
  
I only fear that the final instalment of the Matrix Trilogy makes these words completely out of place, un-canonical, and the work as a whole unfixable.  
  
So then, I do hope you enjoy "Adam". I know it's a little wordy, but free up some time, take a seat, and read away. Leave your thoughts in the review section if you feel like it. A good word is never a bad thing.  
  
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Disclaimer: "Adam" is based on the works of Larry and Andy Wachowski. Thanks, Bros. - you've given us something amazing. 


	2. Emergence

INT. CITY SEWERS - NIGHT  
  
DANIEL HAZELTON runs frantically through the dank brick sewers of an unnamed city. He wears a business suit, now streaked with filth, tie flapping as he runs. He splashes through the sewer water, soaking his pant legs. Sweat runs down his forehead, past his eyes, which stare wide open at the tunnels before him. His greying hair is both slick with sweat and encrusted with sewer grime.  
  
A sound is heard from behind him, and he looks back briefly before continuing on. The sound is a torrent of hard footsteps, all tapping quickly after each other, over and over. Daniel trips, hits the ground, and clambers back onto his feet.  
  
Something turns the corner behind him, a dark mass of tentacles and countless small, red eyes. This is the monster Daniel runs from. It sees him and charges towards him, tentacles latching onto the brick, pulling itself forward.  
  
Daniel turns to the right and heads down another brick path, other ways branching off to both sides. He runs down the tunnel, away from the thing behind him. Unfortunately for him, he is losing ground. The monster turns down his path, now much closer than before. Daniel looks back again, and then faces forward to make his next choice. He takes a left and rushes down the new branch of sewer.  
  
This path has much fewer offshoots than the others, and Daniel runs by all but one. The last exit is before him to his right. He takes the turn and stops, horrified. Twenty feet before him the tunnel ends, blocked by a thick metal grating. There is no escape. Daniel turns back, only to see a shadowed tendril creep towards him.  
  
Daniel remains facing the exit as he backs up, stepping towards the grating. The beast follows, its body now in the tunnel, snaking tentacles and red eyes clogging the opening. It chokes off the light, leaving Daniel with only the dimmest sense of its appearance. It comes closer, the tentacles now slower, more deliberate, more menacing.  
  
Daniel is trapped, yet he remains where he is, five feet from the grating. He makes his stand, watching, waiting. The monster stops before him and rears up, its body almost touching the high curved brick ceiling. Daniel sees his only chance and bolts for the exit, running through the flexible limbs, a forest of tentacles. However noble his effort, Daniel is doomed, and he makes it no more than half way through the mass of tendrils before they wrap around him and pull him back. Daniel's body is held rigid as he's lifted up above the sewer floor, before the red eyes of the creature. He is held closer and closer to them, and in the light he can almost make out what looks like a tangle of grinding mandibles. What he does not see is the lone tentacle behind his head that pulls back for a moment before plunging itself into the back of his skull.  
  
Daniel cringes with pain and-  
  
INT. BEDROOM - NIGHT  
  
Daniel's eyes open wide as he wakes from the nightmare, a sharp breath sneaking down his throat. His back rises off of the mattress as his muscles tense. His eyes scan the darkness, searching for information, known visuals to place his location. Daniel sees familiar furniture and understands that he had only been dreaming. He lies back down and takes a few deep breaths.  
  
EVELYN HAZELTON, sleeping beside Daniel, stirs, and slowly rolls over to see her husband. In the moonlight she comes across as the tired middle-aged wife she is. She looks at her husbands face, which seems much older than hers, much more weary and lined.  
  
EVELYN  
Another?  
  
DANIEL  
(nodding)  
Yeah.  
  
She lies her arm across his chest and rests her head against his shoulder. She closes her eyes.  
  
EVELYN  
It'll pass. Go to bed.  
  
Daniel's eyes remain open, staring at the ceiling. His expression shows that he doubts it will pass, as it never does.  
  
INT. LUXURY SEDAN - DAY  
  
Daniel drives to work, sitting in the leather-clad seat of his expensive foreign car. He wears an impressive suit, and an equally formidable briefcase lies on the floor in front of the passenger seat.  
  
Bags rest under his eyes, and he looks exhausted. There is another expression that is mixed on his face, however, something close to unease. Daniel drives and watches the world around him, looking at everything he knows as the world with a sense of mistrust. Something doesn't seem right, something Daniel can't place.  
  
INT. PARKING GARAGE - DAY  
  
Daniel's car pulls into a parking space in a basement garage. His name, Daniel Hazelton, is painted on the concrete wall before him. He gets out, briefcase in hand, and closes the door. He walks way from the car towards the exit, a metal door, and points his hand back towards the car without looking. The car doors lock, the lights flash, and the car makes a muted beep as the alarm is set by the remote on Daniel's key chain.  
  
INT. ELEVATOR - DAY  
  
Daniel steps into the large elevator and presses the button for the twenty- fourth floor. As the elevator rises, Daniel holds his hands in front of him, together holding the briefcase. Already a sense of calm is coming over Daniel as his daily routine kicks in.  
  
INT. OFFICE FLOOR - DAY  
  
Daniel steps out of the elevator and into the decorative lobby of his company's office. The RECEPTIONIST looks up from the computer before her and smiles at Daniel.  
  
RECEPTIONIST  
Good morning, Mr. Hazelton.  
  
DANIEL  
(smiling)  
Good morning, Rose.  
  
Daniel walks past the reception desk at a brisk pace, heading towards the heavy mahogany doors at the back of the floor. He smiles at some people, waves at others, nods to the rest. He finally reaches a door at the corner of the floor and opens it, stepping into the office behind.  
  
INT. CORNER OFFICE - DAY  
  
Daniel steps into the corner office and walks over to the computer on the large wooden desk, turning it on. Large, high windows wrap around the walls of the office, providing a spectacular view of the other downtown skyscrapers. As the computer boots, he places the briefcase on the desk and opens it up. He takes out various papers and files and places them on the desk before him. Standing behind his desk, hands on the wood as he leans forwards, Daniel opens up his day-timer and looks at the schedule for the day, Monday.  
  
Someone knocks at the door. Daniel remains fixed on the day-timer.  
  
DANIEL  
Come in.  
  
The door opens and another man in a suit, TOM, steps into the office. Daniel looks up and grins, yet remains behind the desk.  
  
DANIEL  
Hey, Tom. How are ya?  
  
TOM  
I'm good, Danny. I just came by to see if we're still on for Wednesday  
night.  
  
Daniel flips the page and looks at Wednesday. He taps his finger at the eight-o-clock slot, which reads "Tom - poker". The rest of the schedule is packed, business related.  
  
DANIEL  
We are indeed.  
  
TOM  
Terrific. I know you're busy, so I'll get out of your hair.  
  
Tom leans back into the hallway outside, but stops before leaving.  
  
TOM  
Have lunch with us one of these days, okay Dan? Take a break.  
  
DANIEL  
Sure thing. See you later.  
  
Tom waves casually before finally closing the door. Daniel raises his eyebrows and shakes his head, suggesting that the lunch invite has little to no chance of coming to fruition.  
  
The computer is ready and so Daniel sits down before it, rearranging some of the paper files he took out before getting to work.  
  
INT. CORNER OFFICE - DAY  
  
Daniel looks up from the computer screen he types away at and takes a look at the clock beside him. It reads 12:28. Daniel closes up what he's working on and grabs his jacket from a coat hanger by the door. He opens the door and leaves his office.  
  
INT. OFFICE FLOOR - DAY  
  
Daniel walks briskly towards the elevator. He passes the Receptionist. He pushes the call button and waits for the elevator to arrive.  
  
RECEPTIONIST  
Lunchtime, Mr. Hazelton?  
  
DANIEL  
Yep.  
  
RECEPTIONIST  
See you in fifteen then.  
  
The elevator door opens and Daniel steps inside. Daniel turns and smiles at the Receptionist.  
  
DANIEL  
Ten if things aren't busy.  
  
The Receptionist smiles back as the doors close and Daniel heads down.  
  
EXT. DOWNTOWN STREET - DAY  
  
Daniel exits his building and walks into the pedestrian traffic of the lunch hour. He walks down the street.  
  
INT. CAFÉ - DAY  
  
Daniel enters a charming little side café and stands in line to order. It moves quickly and soon it is Daniel's turn. LILY, The young woman behind the counter, recognized Daniel instantly and smiles at him. He smiles back.  
  
DANIEL  
How are you, Lily?  
  
LILY  
Doing good, Mr. Hazelton. And you?  
  
DANIEL  
Just fine, thanks.  
  
Lily reaches past the buns and sandwich meats to grab a sandwich already made and wrapped in cellophane. She hands the sandwich over to Daniel.  
  
LILY  
Ham and cheese, all ready.  
  
Daniel takes out his wallet and pays her.  
  
DANIEL  
Thanks, Lily. I'll see you tomorrow.  
  
Daniel heads towards the door.  
  
DANIEL  
Take care.  
  
LILY  
You too. Bye now.  
  
He opens the door and waves before leaving.  
  
INT. CORNER OFFICE - DAY  
  
The office door opens and Daniel walks in, his clock reading 12:42. Daniel walks over to his computer and brings his files back up before opening the sandwich. He leaves half of it on the desk on top of the unwrapped cellophane. The other half travels with him towards the office windows as he eats, standing. Daniel takes the quite moment to enjoy the sunny day before him as he slowly chews his food. He looks at the people below, the clouds in the sky, a bird to his right that swoops past him.  
  
As the bird reaches his window it stops. It doesn't stop flapping its wings and fall to the ground - no, it completely stops, frozen in time, hanging in midair, motionless. Its wings remain above it, anticipating a flap that will push the bird back into the air to keep it airborne, but a flap that presently seems unnecessary.  
  
Daniel stares at the bird, awestruck. He swallows a mouthful of sandwich before his jaw drops. His eyes open slightly as he takes in the impossible scene. Daniel puts the sandwich down on the windowsill and steps closer to the window, pressing his hands against the glass pane. The bird still remains in its place in front of him, twenty-four stories above the city street.  
  
Suddenly the bird is gone in a blur that streaks to the left. Daniel jumps backwards, startled, before going back to the window. He cranes his neck to the left to catch the bird again, but doesn't find it. He scans the sky for others, but finds it empty. On a second glance, however, he sees that the clouds move at an impossible speed. They flow and merge at time-lapse speeds. Daniel seems bewildered. He looks down at the street below, and the sight is equally amazing. Cars and people whiz by at a greatly increased rate, the lights and bodies a blur, lines of motion.  
  
Without warning, the people below stop, frozen in their places as the bird was moments before - if it was only moments before. Daniel look down on the men and women, motionless, like mannequins. Some seem to have been caught in a run, as they hang above the ground, neither feet touching the pavement.  
  
Time reverses again and the people race by. Daniel steps away from the window, disoriented. Things speed like this for what seems to be a few seconds before halting. Daniel begins to breath quickly, and he swallows, fighting back nausea. The flow of time switches again, the change quicker than before. Fast, then slow, fast then slow. Daniel's eyes remain fixed on the spectacle below, yet the strain is obvious.  
  
Someone knocks at his door. Daniel turns to it and it opens slightly. The Receptionist peeks in and sees Daniel. She moves at a normal speed. Daniel looks to the street and sees that everything is normal there as well. The Receptionist takes a long look at Daniel and furrows her brows.  
  
RECEPTIONIST  
Is everything all right, Mr. Hazelton?  
  
Daniel struggles to process what he's just witnessed.  
  
DANIEL  
Yeah ... yes. What is it, Rose?  
  
RECEPTIONIST  
It's just that you haven't been answering your calls for close to an  
hour now. I know it's lunch and all but, well ... you always work  
during lunch.  
  
Daniel looks at his clock. It says that the time is 1:42. The Receptionist looks at Daniel again with a worried look.  
  
RECEPTIONIST  
Is everything all right?  
  
DANIEL  
Everything's fine.  
  
RECEPTIONIST  
(beat)  
Okay then.  
  
The Receptionist leaves reluctantly. Daniel faces the window again, bewildered.  
  
DANIEL  
What the hell was that?  
  
EXT. HOUSE - NIGHT  
  
Daniel's European sedan drives into his driveway. Daniel gets out of the car, briefcase in tow, and heads towards the front door.  
  
INT. FOYER - NIGHT  
  
The front door opens and Daniel walks into his house. He closes the door behind him and takes off his jacket and shoes. He leaves his briefcase beside the nearby staircase before walking down the hall.  
  
INT. KITCHEN - NIGHT  
  
Evelyn stands by the stove, preparing dinner. Daniel walks up behind her and kisses her on the neck.  
  
EVELYN  
Hi hon. Dinner's almost done.  
  
DANIEL  
Smells great.  
  
Daniel walks over to the counter and picks up the mail before sitting down at the kitchen table. He loosens his tie and sighs heavily.  
  
EVELYN  
How was your day?  
  
Daniel stares off into space for a moment, thinking, before chuckling.  
  
DANIEL  
It was interesting, to say the least. 


	3. Deviation

EXT. MISTY DARKNESS  
  
Daniel floats, naked, amongst a thick, smoky, coal black mist. His hair waves back and forth lightly, as if tossed by a gentle breeze. Nothing else can be seen, but a faint red hue seeps through the darkness ahead. Daniel travels towards it, his passage controlled by some other force.  
  
Out of the mist ahead appears a massive column, trunk-like. Daniel can see neither its base nor its top. All that he can see is what is in front of him, the thick black chord before him. Adorning it are countless red eyes that layer its surface in horizontal rings. They all watch Daniel as he approaches, the pink-red eyes occasionally blinking, all in unison.  
  
Daniel's course continues forward, and the eyes all blink again, yet remain shut. When they open they are no longer eyes. Now Daniel sees them as something like red light bulbs that all dimmed and then were raised at the same time. The elongated bulbs stick out from the black tower, casting the deep pink glow that drew him forward.  
  
As the bulbs become even clearer, a look of horror crosses Daniel's face. He sees, frighteningly, impossibly, that the pink bulbs all house a human within them. Hundreds of men and women, thousands even, lie within the pods latched onto whatever the black tower is. Daniel floats towards them, and his body begins to rotate, still by the unseen hand that brings him closer, so that he faces downwards, moving headfirst.  
  
His pace slows as he coasts towards one of the pods. Daniel looks down into the pod and sees a man below, naked. He lies in a pink muck that keeps him stationary, floating. Daniel floats as well, downwards, slowly, until he is face to face with the man within the pod below. Daniel sees himself in the pod, gaunt and pale. He examines his own face as if looking into a strange circus funhouse mirror. He is both amazed and horrified.  
  
The encased Daniel opens his eyes suddenly.  
  
INT. BEDROOM - NIGHT  
  
Daniel, lying in bed beside his wife, opens his eyes suddenly. His head remains on the pillow, but he breathes through his nose quickly, sharply. His jaws are clenched as adrenaline pumps through his veins, brought on from the fading dream. His eyes travel the ceiling above, darting quickly from one corner to the other. Daniel slowly cranes his neck to face his wife. She remains absolutely still. His head turns back to the ceiling, and Daniel swallows thickly, completely uneasy in the bed he sleeps in.  
  
INT. PARKING GARAGE - DAY  
  
Daniel's car pulls into his space. The car turns off, and Daniel opens the door and exits. His eyes dart about quickly. He runs his fingers through his hair. He seems nervous. Daniel walks towards the elevator door, turning on the car alarm in mid-stride. The car beeps.  
  
INT. ELEVATOR - DAY  
  
Daniel hits the button for the twenty-fourth floor. As the elevator rises, Daniel remains edgy. He shifts his weight back and forth as he waits for his floor.  
  
INT. OFFICE FLOOR - DAY  
  
The elevator doors open and Daniel steps out into the office lobby. He heads towards his office, walking quickly. The Receptionist looks up from her computer and smiles.  
  
RECEPTIONIST  
Good morning.  
  
Daniel gives a slight nod of recognition and a wave, and continues on his way. He passes coworkers as he walks towards his office, but pays them little notice. He reaches the door, opens it, and steps inside his office.  
  
INT. CORNER OFFICE - DAY  
  
Daniel closes the door behind him and leans against it, brow furrowed. He takes in a deep breath and then exhales. Daniel looks over his office. Everything seems in order, normal. Desk, chair, phone, computer, and clock: all are in their proper places.  
  
Daniel takes a tentative step towards the desk, a second, a third, until he is behind his chair. He places his briefcase on the desk, pauses for a moment, and then opens it. He takes out his files and places them beside the briefcase. Next he takes out the day-timer and opens it.  
  
INT. CORNER OFFICE - DAY  
  
Daniel sits at his desk, working silently, and then looks up at the clock. It says 12:32. He closes up what he's working on with the computer and tidies up his desk.  
  
INT. OFFICE FLOOR - DAY  
  
Daniel walks towards the elevators and goes past the Receptionist.  
  
Daniel  
Just grabbing a bite.  
  
A small grin appears on the Receptionist's face as Daniel goes by.  
  
RECEPTIONIST  
I know.  
  
INT. CAFÉ -DAY  
  
Daniel walks into the small café and finds Lily behind the counter. No one is ahead of Daniel. Lily spots him, smiles, and holds up the usual wrapped sandwich as he approaches.  
  
EXT. DOWNTOWN STREET - DAY  
  
Daniel walks amongst the churning mass of people on the busy lunchtime sidewalks. The sounds of footsteps, conversations, car horns and engines flood Daniel's ears. He keeps a brisk pace as he heads back to his office building.  
  
The light begins to dim. Daniel doesn't notice at first, but as the world around him is enveloped in shadow, he looks to the sky. No clouds cover the sun. Nothing blocks it. Instead, it is as if the sun's brightness has been turned down, and continues to do so. No one seems to notice but him.  
  
The people around him begin to slow down, offering Daniel a slower pace to take in the changes. The world around him begins to dim as well. The cars, streets, buildings, sky, all disappear, dimming, but also stretching away into nothingness.  
  
Daniel is left alone in the new darkness, standing with the other people that, moments before, had been walking along side him on the city street. As they continue to slow, something truly bizarre begins to happen. All of the clothes they wear, business suits, jeans, leather jackets, t-shirts, all begin to tear away from their bodies, streaming in an otherwise unnoticed wind. The bodies before Daniel are slowly revealed, naked, as their clothes rip away.  
  
The rags don't disappear completely, however, as they all darken and remain attached to the bodies they once covered, black tendrils snaking away from pale flesh. Hair pulls back from everyone's forehead and masses at the back of their skull in a final chord.  
  
Finally, everyone stops. Daniel, the only clothed person left, takes in the scene, awestruck. The hundreds, if not thousands, of people that filled the downtown street now stand motionless, all naked. They are covered, entwined, in dark metal tubes attached to their bodies by inserts in their flesh in their arms, their backs, their heads. The people all stand hairless, eyes closed, heads bowed. Daniel cranes his neck all around him, looking at the mass of people. He turns back and forth, standing in the same spot, as he surveys the bodies. The only sound Daniel hears is his own breathing.  
  
Without warning, everything snaps back to reality, all at the same time. Hair and clothes return from the black chords, melding back into the various attires that covered the people. The buildings rush back into their normal locations, along with the cars that littered the streets. The sun shines brightly, and Daniel is once again bombarded by the full aural assault of downtown at lunchtime.  
  
Daniel remains still as the crowd jumps back to their quick pace. A BUSINESS MAN behind Daniel bumps into him, startling Daniel.  
  
BUSINESS MAN  
Watch it, man.  
  
Daniel looks around, eyes wide, face pale. He remains motionless, forcing the other moving people to swerve around him, some giving him dirty looks in the process.  
  
Across the street, a man steps out from the shadows of a side alley. He wears a dark suit and sunglasses, which hide his eyes as he watches Daniel, emotionless. The man in the suit is AGENT SMITH. He places his right hand to his ear, where a secret service-like earpiece is fitted, and receives information. He listens to whatever form of voice is on the other end.  
  
INT. FOYER - NIGHT  
  
The front door opens and Daniel walks into his house. He seems preoccupied, and he looks to the ground, not focusing on his actions. He closes the door slowly, leaning on the door handle as he does so. He walks towards the back of the house, and drops his briefcase by the stairs as he passes them.  
  
INT. KITCHEN - NIGHT  
  
Daniel walks into the kitchen while Evelyn chops carrots on the counter- top. He sits down at one of the kitchen chairs and leans on the table.  
  
EVELYN  
How was your day, sweetie?  
  
Daniel chews his thumbnail, his mind still elsewhere.  
  
EVELYN  
Daniel?  
  
Daniel looks up briefly.  
  
DANIEL  
Fine.  
  
EVELYN  
That's good.  
  
Daniel rubs his eyes wearily with the balls of his hands.  
  
DANIEL  
Evelyn?  
  
EVELYN  
Hmm?  
  
Daniel's focus finally comes back to the present. His eyes seem clear, intelligent, and afraid. He faces Evelyn, her back to him.  
  
DANIEL  
Something's wrong with me. I ... I think I may be going mad.  
  
Evelyn chuckles. Daniel's eyes remain on her, watching and waiting. He says nothing. Evelyn turns to Daniel, smiling, and sees the look on his face. Her smile fades quickly. She puts down the knife she chops the carrots with and then takes a few steps towards Daniel. Their eyes lock, studying each other.  
  
EVELYN  
What? Are you serious?  
  
DANIEL  
Maybe. I've been seeing things lately. I don't know what to make of  
them. I do know that they're not ... normal, not healthy. They're  
scaring the hell out of me.  
  
Evelyn stands still, processing the information, before replying.  
  
EVELYN  
What have you seen?  
  
DANIEL  
I'm not sure. I didn't really see anything the first time. Everything  
was normal, in a way, it was just like I was spaced-out or something.  
But the second time ... the second time was like ...  
  
Evelyn takes another tentative step.  
  
EVELYN  
Your dreams?  
  
Daniel laughs at this remark.  
  
DANIEL  
Let's be honest here, Evelyn. When your husband wakes up every night,  
sweating and horrified, he's not just dreaming. Those are nightmares  
babe, all the way, full out.  
  
EVELYN  
Then are they like your nightmares?  
  
Daniel leans back in his chair and looks out the kitchen window. In the dark of night, all he can see is his own reflection.  
  
DANIEL  
(nods)  
Yeah, I think so. I wish I could say for sure. What I see in my sleep  
fades so fast. I couldn't tell you if they really were similar. But  
they feel the same, if that's worth anything. And, whatever's been  
happening to me during the day, when I come out of it, it feels like  
I'm waking up.  
  
Daniel thinks over his last statement, searching for the words to express what comes to mind.  
  
DANIEL  
But the weirdest part is that, though it does feel like I'm waking up,  
what I'm leaving seems more real than what I wake up to. More real  
than this.  
  
Daniel knocks on the wood table he sits at. Evelyn looks at her husband, now worried.  
  
DANIEL  
I know how this sounds, Evelyn, but I also know how I feel. Nothing  
fits. Nothing feels like it should. I don't know how to explain it.  
It's just that something doesn't seem ... right. Nothing seems right.  
  
Evelyn steps back for a moment and scans the kitchen as she thinks before facing Daniel again.  
  
EVELYN  
I don't know how to take this, Daniel.  
  
DANIEL  
I know. I know. I'm sorry that I can't make more sense of it, and I'm  
sorry if you're worried. I am.  
  
Evelyn turns back to the countertop and examines the food before her.  
  
EVELYN  
Here, let's have dinner. It's ready. It'll take your mind off things.  
  
Daniel nods, reluctantly.  
  
DANIEL  
All right.  
  
INT. LIVING ROOM - NIGHT  
  
Daniel sags into a plush leather sofa. He holds his hands in his lap, shoulders slumped, as he stares at nothing in particular. His face shows a mixture of confusion, exhaustion, and fear.  
  
Evelyn appears at the entrance to the living room, and leans against the wall. She looks at her husband for a moment before speaking.  
  
EVELYN  
I'm going to bed now, Daniel. Come up soon, okay?  
  
Daniel gives her a weary smile.  
  
DANIEL  
I will.  
  
By the looks on their faces, they both know this is a lie. Regardless of this, Evelyn nods and leaves Daniel alone to his thoughts.  
  
INT. PARKING GARAGE - DAY  
  
Daniel's car pulls into his spot. The car door opens and Daniel steps out, briefcase in tow yet again. This morning, however, Daniel no longer has his normal energy. As he walks towards the exit, it is obvious that Daniel is tired and at his wit's end.  
  
INT. ELEVATOR - DAY  
  
Daniel enters the elevator and stands in the center. He looks at the floor buttons, yet remains motionless. His arm slowly rises to the buttons, and he holds his finger out to the one for the twenty-fourth floor, but he doesn't push it. He closes his eyes and frowns slightly, his hand still up. Clearly, pushing the button is the last thing Daniel wants to do. However, Daniel opens his eyes, stares at the button for a little longer, and then finally pushes it. He presses the button and holds his finger down for a second or two, and then releases it reluctantly. Daniel looks up and watches the floor number rise with displeasure.  
  
INT. OFFICE FLOOR - DAY  
  
Daniel emerges from the elevator and heads for his office. The Receptionist looks up from her computer, smiling.  
  
RECEPTIONIST  
Good morning, Mr.-  
  
The Receptionist sees Daniel, dark bags under his eyes, slightly dishevelled, and the smile disappears.  
  
RECEPTIONIST  
Mr. Hazelton, are you all right?  
  
Daniel continues to walk towards his office.  
  
DANIEL  
I'm fine, Rose. I just didn't sleep much last night.  
  
Daniel walks past her.  
  
DANIEL  
I'll be in my office.  
  
The Receptionist turns in her chair, watching Daniel's back as he continues towards his door.  
  
INT. CORNER OFFICE - DAY  
  
Daniel enters his office and tosses his briefcase down on his desk. He doesn't touch his computer. Instead, he walks over to the window, leans against it, and loosens his tie. Daniel looks down at the hoards of people moving along the downtown streets and sidewalks. His eyes roam as they are caught by the complicated flow of traffic, both vehicular and pedestrian. Watching these people calms him.  
  
Daniel looks up and heads back to his door.  
  
INT. OFFICE FLOOR - DAY  
  
Daniel heads to the elevator and walks past the Receptionist.  
  
DANIEL  
I'm going to lunch, Rose. Be back in a bit.  
  
The Receptionist looks up from her computer, and looks at Daniel, confused, as he taps the call button for the elevator.  
  
RECEPTIONIST  
Lunch? Mr. Hazelton, it's just past nine-o-clock in the morning. You  
can't be going to lunch yet.  
  
Daniel stands with his back to her.  
  
DANIEL  
Fine then, call it brunch, I don't care.  
  
The elevator door opens and Daniel steps into it. He hits the button for the lobby.  
  
RECEPTIONIST  
But Mr. Hazelton, you have a meeting in fifteen minutes.  
  
Daniel looks up from the buttons and stares at the Receptionist. The doors begin to close.  
  
DANIEL  
Cancel it.  
  
INT. CAFÉ - DAY  
  
Daniel enters his usual spot for lunch and takes a look around. Things almost seem different at this time of day. The people, the atmosphere, the lighting even. It makes Daniel smile. He walks to the counter, where he is greeted by a surprised Lily.  
  
LILY  
Good morning, Mr. Hazelton. I didn't expect to see you here so early.  
  
DANIEL  
I'm just taking a break.  
  
Lily raises her eyebrows.  
  
LILY  
I didn't know you took breaks.  
  
DANIEL  
(grinning)  
There's a first time for everything.  
  
LILY  
Quite true. Do you want the same as usual? I haven't had a chance to  
make it yet, but it won't take long at all.  
  
DANIEL  
No, I think I'll just have a coffee.  
  
LILY  
Okay.  
  
Lily turns to grab a coffee cup.  
  
DANIEL  
And a muffin too. Blueberry.  
  
Lily smiles.  
  
LILY  
Sure thing.  
  
EXT. CAFÉ - DAY  
  
Daniel steps out onto the small patio of the café. Half of the seats are filled. Daniel walks over to one by the patio railing, closest to the sidewalk and the people walking by, and takes a seat. He puts his coffee and muffin on the table in front of him. Daniel takes a sip of his coffee and sits back. He smiles, enjoying himself in the sunlight, content. The feeling doesn't last long.  
  
Daniel furrows his brows and narrows his eyes ever so slightly. Something is amiss. He looks up to the torrent of people walking by. A man on his left catches his attention. The man's arms are full as he struggles to carry a pile of rolls of paper, blueprints or advertisement mock-ups perhaps. Daniel watches the man walk towards him, and then his attention is drawn to a young woman on his right, who walks towards the other man on the sidewalk.  
  
Daniel's attention flips between the two people, his head turning left and right, back and forth, as the two come closer together. Daniel raises his hand and opens his mouth as if to give them a heads up, but it is too late. The young woman, careless, walks right into the man with the paper, causing him to spill the rolls all over the sidewalk, right in front of Daniel. The two bend down to pick them up. Daniel watches, perplexed.  
  
His attention switches to a flashy businessman in an expensive suit walking along, and then to a group of attractive women. They walk towards each other.  
  
DANIEL  
(whispering)  
He'll smile-  
  
The businessman smiles at the women.  
  
DANIEL  
(whispering)  
-then they'll giggle-  
  
The women smile back and giggle.  
  
DANIEL  
(whispering)  
-and turn to look as he keeps going.  
  
As the businessman continues down the street, the women all turn to look at him go, one craning her head to check out his butt. They giggle again and then turn back down the sidewalk, walking to Daniel's right.  
  
The first man and woman have since collected the rolls of paper and continued on their way.  
  
Daniel keeps his head turned to the right, in the direction of the parting women, but he casually points to his left.  
  
DANIEL  
(whispering)  
A bike messenger will turn the corner-  
  
Daniel turns his head to the left and watches as a bike messenger in a red spandex top comes around the corner and pedals along the street towards him.  
  
DANIEL  
(whispering)  
-and will almost get hit by ... that cab.  
  
A yellow cab in the middle lane cuts sharply to the right and almost hits the bike messenger. The bike messenger clamps down on the brakes to avoid being hit, and then swears at the cabbie, who drives off, oblivious. The messenger raises his middle fingers to the cabbie in the process. He then shakes his head in frustration and begins to pedal again. Daniel watches him go for a moment before looking back to the other people.  
  
DANIEL  
(whispering)  
That man will look at his watch.  
  
A man in a suit pulls his shirt cuff back to take a look at the time.  
  
DANIEL  
(whispering)  
He'll cough.  
  
Another man walking down the street covers his mouth as he coughs.  
  
DANIEL  
(whispering)  
She'll catch her heel on the sidewalk.  
  
A woman in high heels stumbles a bit as one of her heels gets stuck in a crack in the sidewalk, but she manages to recover and continue down the street.  
  
DANIEL  
(whispering)  
A bird will come down and land-  
  
A brown bird flies down towards Daniel and lands on the awning of a shop next door. Daniel is already looking at the bird's perch before the bird arrives.  
  
DANIEL  
(whispering)  
-right there.  
  
Daniel turns to a fellow COFFEE DRINKER sitting on the patio with him, a young woman. She talks to one of her friends. Daniel looks at the bag on the ground beside her.  
  
DANIEL  
(whispering)  
Ring ring.  
  
A cell phone begins to ring in the coffee drinker's bag.  
  
DANIEL  
(whispering)  
Oh, that's me, hold on a sec.  
  
The coffee drinker notices that her phone is ringing and picks up her bag.  
  
COFFEE DRINKER  
(to friend)  
Oh, that's me, hold on a sec.  
  
The coffee drinker goes through her bag looking for her phone.  
  
DANIEL  
(whispering)  
Hello? Hi! How are you? I'm good, thanks.  
  
The coffee drinker finds her phone and hits a button to answer it.  
  
COFFEE DRINKER  
Hello? Hi! How are you? I'm good, thanks.  
  
Daniel continues to watch the woman on the phone.  
  
DANIEL  
(whispering)  
I'm just with Dana. We're having a cup of coffee before we-  
  
Daniel's head snaps to a man walking down the sidewalk towards him. The man wears a dark suit and matching dark glasses. Unbeknownst to Daniel, it is Agent Smith. Daniel follows Smith's progress. The look on Daniel's face suggests that he has know idea why he's looking at Smith, only that he must.  
  
COFFEE DRINKER  
(muted)  
I'm just with Dana. We're having a cup of coffee before we go out to  
Kayle's place. Yeah!  
  
Daniel continues to stare at Smith as Smith comes ever closer. As Smith comes within five or six feet of Daniel, he turns his head to look directly at him. Smith continues to walk past Daniel, staring him down the entire time. Daniel stares back, wide eyed. As soon as Smith passes Daniel, however, he turns his gaze forward and walks down the street. Daniel watches the man in the dark suit as he disappears into the crowd.  
  
COFFEE DRINKER  
I'll give you a call then. Bye.  
  
Daniel snaps back in his chair as if he's been slapped. He looks at his surroundings, confused, as if he's just woken from a dream. Everything seems normal. The prophetic moment is over.  
  
INT. OFFICE FLOOR - DAY  
  
The elevator doors open, and Daniel steps into the office lobby. The Receptionist looks up from her computer, sees Daniel, and quickly walks over to him. He is a hard man to keep up with, however, as he heads towards his office at a vigorous pace. The Receptionist walks with him as fast as she can.  
  
RECEPTIONIST  
Mr. Hazelton, I had to rearrange your schedule for today, to fit in  
your break, but everything should work out without much trouble. If  
you just want to take a look-  
  
DANIEL  
I'm taking the day off, Rose - going home. I'm only here to pick up my  
things.  
  
Daniel reaches his door and opens it, going inside his office. The Receptionist is left alone at the door, speechless. She looks at the new schedule for a moment, and then back to Daniel. She seems completely bewildered.  
  
As quickly as he entered, Daniel leaves his office, briefcase in hand, and closes the door behind him before heading back to the elevator. The Receptionist chases after him. Daniel reaches the elevator and presses the call button.  
  
RECEPTIONIST  
But Mr. Hazelton-  
  
DANIEL  
Don't worry, Rose, I'll probably be back for tomorrow.  
  
The elevator doors open and Daniel gets in. He presses the button for the parking garage. He smiles at the Receptionist and the doors close. The Receptionist is left alone in the lobby.  
  
RECEPTIONIST  
Probably? 


	4. Lucidity

INT. FOYER - DAY  
  
The front door opens and Daniel walks into his house. He tosses his briefcase off to the side, in no particular direction, and begins to take off his jacket. The house is dead silent.  
  
DANIEL  
Hello? Evelyn?  
  
Daniel waits for a response, but receives none.  
  
DANIEL  
(to himself)  
Right, she's at work. Of course.  
  
Daniel shrugs and heads down the hall to the kitchen.  
  
INT. KITCHEN - DAY  
  
Daniel walks into the kitchen. Light streams in through the windows, quite a contrast to the enclosing darkness that normally flanks the kitchen when Daniel comes home. Daniel stands still for a moment, unsure of what to do next, before heading to the fridge. He opens the fridge, looks inside, and takes out a beer. He twists off the top and tosses it onto the counter before heading to the outside door.  
  
EXT. PORCH - DAY  
  
Daniel walks out onto the porch from the kitchen door. He sits down in a long deck chair and exhales pleasantly. He takes a sip of his beer before scanning the wide back lawn beside him. Daniel hardly reflects the weary man he was earlier in the day. Now, he is the epitome of peace.  
  
INT. FOYER - DAY  
  
The front door opens and Evelyn enters the house. She seems concerned. Looking around, she spots Daniel's briefcase and jacket.  
  
EVELYN  
Daniel? Dan?  
  
DANIEL (O.C.)  
I'm out on the porch.  
  
Evelyn puts down her own bag before walking towards the kitchen.  
  
EXT. PORCH - DAY  
  
Evelyn opens the kitchen door and walks out onto the porch. The noontime sun that Daniel first sat below is now a mellow afternoon glow. Evelyn looks at Daniel sourly, her arms crossed.  
  
EVELYN  
What are you doing home?  
  
DANIEL  
I took a break.  
  
EVELYN  
What do you mean you took a break?  
  
DANIEL  
(grins)  
Do you want a definition of the word, or a reason behind me taking  
one?  
  
EVELYN  
Don't be a smart-ass, Daniel.  
  
DANIEL  
(laughs)  
Sorry.  
  
Evelyn waits for Daniel's answer. Daniel thinks for a moment about how to reply.  
  
DANIEL  
All I can really say is that, today, I just felt like my time was  
better spent outside than at the office.  
  
EVELYN  
You weren't fired or anything, were you?  
  
DANIEL  
(snorts)  
Not yet.  
  
EVELYN  
(beat)  
Well, if anyone deserves a day or two off, it's you.  
  
Evelyn uncrosses her arms and walks over to Daniel. She sits down in his lap and wraps her arms around his neck. They look at each other affectionately.  
  
EVELYN  
I'm worried about you, Daniel, now more than yesterday. Having bad  
dreams and funny feelings is one thing, but ignoring your work because  
you felt it was the right thing to do is another. That's real. It's  
not like you at all. I don't know if you're going through some sort of  
mid-life crisis or whatever, but I want the best for you, Dan. I want  
you well, and I want you happy.  
  
DANIEL  
I'm pretty happy right now.  
  
EVELYN  
Yeah, I saw that the moment I came out here. Maybe that's what worries  
me. If it's work that's the problem-  
  
DANIEL  
It's not work. It's something else completely. Today ...  
  
Daniel searches for the words.  
  
DANIEL  
... I know something happened today. I wish I could remember what. It  
was like a moment of clarity. I'm close, Ev. I don't know what I'm  
close to exactly, but I'm close. Just bear with me. Everything's going  
to be all right.  
  
Daniel kisses Evelyn. She looks at him again before getting out of the chair.  
  
EVELYN  
Okay. If you say so, Daniel, then okay.  
  
Evelyn walks towards the door and opens it, but stops before going inside.  
  
EVELYN  
And Daniel, if this really is a mid-life crisis, just buy a Porsche  
and get it over with.  
  
Daniel begins to laugh. Evelyn goes into the kitchen and closes the door behind her. She leaves Daniel alone on the porch, laughing so hard that he is on the verge of tears.  
  
INT. BEDROOM - NIGHT  
  
Daniel and Evelyn lie beside each other in bed. Evelyn sleeps heavily while Daniel stares at the ceiling, wide-awake. He looks over at the clock on the bed table beside him. It shows 1:17. Daniel turns his head back to the ceiling. His eyes only stay there for a few seconds before Daniel gets out of bed.  
  
EXT. FRONT DOOR - NIGHT  
  
Daniel walks out of his house and closes the door quietly behind him. He wears a pair of jeans and a sweatshirt beneath a light windbreaker. Daniel walks to the sidewalk and then down the street.  
  
EXT. STREET - NIGHT  
  
Daniel walks through a residential neighbourhood, the street completely absent of any other people. The only cars out are those that are parked along the curb. Daniel walks at a casual pace, his hands in his jacket pockets, smiling. He lightly kicks a rock on the sidewalk with the toe of his shoe. He seems deep in thought, but at the same time he pays close attention to the things before him: the grass, the trees, the sky.  
  
EXT. PARK - NIGHT  
  
Daniel arrives at a small park, close to three- or four-o-clock in the morning. A pond rests in the center of the lot, surrounded by open grass and occasional clumps of trees. Close to the entrance are park benches, lit by decorative overhead metal lamps. Daniel walks over to one of the benches and sits down, resting his arms across the bench top.  
  
Daniel admires the park before him, feels calm in these surroundings. Daniel notices that a few shadows dance across his body and looks up to the lamp. Moths circle around the lamp, bouncing into the glass casing as they fly, entranced, towards the light. Daniel watches them, captivated.  
  
A curious look comes over Daniel, and he cocks his head slightly. He narrows his eyes as if studying the moths more closely. Daniel slowly raises his nearer arm to the lamp and reaches out to the moths.  
  
At first, nothing happens, but then one moth makes a wide arc from the lamp towards Daniel's hand and then back. Another follows, sweeping by Daniel's fingers, before returning to the lamp. A third moth flies by, but this time it stays with Daniel. Daniel watches as the moth circles his hand, bouncing off of his palm and fingers, as if his limb was another lamp. Now the other tentative moths join the lone adventurer and spin around Daniel's hand. The lamp is left undisturbed as all of the moths congregate around Daniel.  
  
He watches, mesmerized, at the unlikely showcase before him. Smiling, Daniel slowly turns his hand over, so that his palm faces upwards. One by one the moths stop fluttering and land weightlessly on his palm. Soon Daniel's hand is covered with the delicate folded wings of the moths. Daniel brings his palm close to his face and looks at the moths, amazed.  
  
Satisfied, his eyes flick towards the lamp above, and then he extends his hand towards the sky. He motions his palm to the lamp, as if giving the handful of moths a little nudge. The moths begin to fly off, one by one. Soon, they all circle the lamp again, as if nothing happened.  
  
Daniel looks around the park, seeing all of the life contained within the small area, and stands.  
  
EXT. PARK - NIGHT  
  
Time has passed, and the night is slowly disappearing. Daniel walks amongst the trees, sometimes reaching out to touch their trunks. He walks over to a planted garden, adorned with long flowers that bob in the wind. Daniel looks at the rainbow of flowers in front of him, their colors only partially seen in the dim light.  
  
Daniel inhales, and the flowers bend towards him ever so slightly in the breeze. He exhales, and they push away. He inhales more deeply, and the flowers reach towards him closer this time. He exhales the larger breath, and the flowers tilt farther still.  
  
Daniel is beyond surprise now. He holds out his hands, low by his side, to feel the wind. He takes a huge breath. The flowers, leaves on the ground, his hair and jacket all kick back towards him in the growing wind. He exhales, and the wind blows from behind. He breathes again, and sees that the trees around him all bend and sway with the breath-driven wind. The entire park is subject to whatever has connected his respiration with the air around him.  
  
Watching the park dance in the wind, Daniel's eyes fall on the pond to his left, its surface rippling back and forth. He lowers his arms and breathes normally, breaking the control over the wind. As dawn approaches, Daniel walks towards the pond.  
  
He reaches the edge of the water, and a calm look comes over Daniel's face. He puts one foot out over the water, taking a first uneasy step. He lowers his foot, and it remains steady above the water. Daniel takes a second step, then a third, then a fourth. He walks out into the middle of the pond, standing atop the water. He looks around him, his stance surprisingly normal, casual, as if these miraculous steps are commonplace. To Daniel at least, it would seem that these steps were to be expected.  
  
Daniel bends down to the water and crouches on his toes. He cups his hands and dips them into the water a mere foot in front of where he rests. He raises the cupped hands to his lips and takes a sip. He lets the rest of the water stream through his fingers and fall to the pond.  
  
The sun breaks on the horizon above the park entrance. Daniel rises and faces the new sun. The steps he takes towards the shore are powerful, are of a man who finally knows himself.  
  
EXT. STREET - DAY  
  
Daniel walks home, along the path he took earlier that morning. His pace isn't as leisurely as before. Now, Daniel walks with assurance. He still smiles, though, enjoying the world around him.  
  
The smile fades, and Daniel comes to a halt. His eyes turn downwards as he concentrates, as if he can hear something far away, as if he can sense something. A worried look appears on his face and he walks back in the direction he came from. He reaches an intersecting street to the one he walked along and takes it, walking quicker now. His walk becomes a jog, which becomes a run, which becomes a mad sprint. Panic is on Daniel's face. He knows he is racing against the clock.  
  
EXT. SCHOOL ZONE - DAY  
  
Daniel, still running, turns a corner and comes to an elementary school. He stops at the corner, beads of sweat running down his face, chest heaving, and scans the school zone. On the left side of the street is the school itself, while on the right is a line of houses. Yellow school buses stop along the curb across the street, opening their doors to let out the young students. On the right, other cars, driven by parents, each drop off a student or two. Other young children fill the sidewalks as they travel on foot from their houses, alone or with friends. The street is teeming with motion.  
  
Daniel, breathing heavily, continues to look, and fixes his eyes on a young girl at the end of the block. She wears a red zip-up sweatshirt, and her pigtails bob as she skips towards a nearby crosswalk. This is what has drawn Daniel to his mad dash, this young girl. He takes a few steps towards her, but stops again when he hears a low, guttural growl from behind.  
  
Daniel turns and sees a sleek black sports car rocket towards the school zone, recklessly fast. The DRIVER of the sports car reaches for a cell phone on the dash, but drops it between his legs as he dials a number. Dropping his head slightly, the driver reaches down to the floor of the car to try to retrieve the phone.  
  
Daniel pans his neck as the car passes him, headed towards the crosswalk. His eyes flick to the little girl at the end of the long block, now almost at the curb. Daniel takes a step towards her. His pupils contract to pinpoint dots, and time comes to a crawl. Daniel charges towards the girl in slow motion, each step bringing him closer to the car which speeds close to 40 miles per hour in the school zone. Daniel must be running at close to 50.  
  
Each step reaches out unnaturally far, ten feet further, fifteen, twenty. Veins pulse on Daniel's temple. His neck is chorded. People litter the sidewalk, and Daniel dodges them, missing by mere millimetres, leaving clothing slowly rippling in his wake. Daniel's limbs seem impossibly long as his feet bite into the sidewalk and push off with incredible power. He runs far beyond Olympic calibre.  
  
The young girl reaches the crosswalk and steps down.  
  
Daniel blazes a path towards her at superhuman speeds.  
  
A few steps farther, the girl notices that one of her shoes are untied. In the middle of the road and the crosswalk, the girl slowly stops and bends down to tie her shoe.  
  
Daniel's limbs blur as he overtakes the car. Each step he takes puts more distance between him and the speeding machine. Daniel reaches the curb by the crosswalk. He takes one stride, spanning the distance from the curb to the center line, and the little girl.  
  
The car approaches, and Daniel steps out in front of the little girl, putting himself between her and the car. He turns to the car and puts his hand out towards it, reaching for the grill. For an instant, doubt appears on Daniel's face, and time returns to normal, racing.  
  
The driver looks up from the floor and sees Daniel, twenty feet ahead of him. He brakes, but the car is going too fast to be stopped within such a short distance. It flies towards Daniel and the little girl.  
  
The car's grill comes within inches of Daniel's hand and them crumples. Time is slowed almost to a standstill the moment the metal begins to bend. The car's hood collapses as if Daniel stands within an invisible pillar of concrete, of steel, of diamond even, with its edge just beyond Daniel's fingertips. Daniel's hand remains as the hood of the car crumples. Pieces of metal and plastic fly forwards, but none enter the barrier that Daniel has somehow created around him and the girl. Daniel watches, almost casually, as these pieces spin in slow motion, his perceptions now ten times as fast as normal, a hundred.  
  
Daniel blinks and re-enters normal time. The car's back tires rise off of the ground and then crash down. The two tons of metal that make up the deadly machine comes to a stop, finally. The driver's head rises from the steering wheel airbag. Nose bloody, the driver looks at Daniel, eyes wide with shock.  
  
All of the people on the street watch the scene before them, breathless. One of the bodies in the crowd, a man with a dark suit and sunglasses, stands with a hand to his ear, listening to an earpiece.  
  
Daniel turns to the little girl and picks her up, carrying her across the street to her initial destination, the school sidewalk. He bends down and finishes tying her shoelace. On one knee, Daniel looks up at the girl, who stands, slightly confused, but also smiling.  
  
DANIEL  
Are you all right?  
  
The little girl looks at the wrecked car on the street, and then the motionless crowd, before returning her gaze to Daniel. She smiles naturally, one front tooth missing, and then nods her head, happily, as if he's asked her if she'd like to go to a toy store. Daniel stands, smiling as well.  
  
DANIEL  
Okay. Have a good day at school.  
  
YOUNG GIRL  
  
(grinning)  
I will. Thank you.  
  
Daniel walks back across the road, everyone still watching him, silent. The driver gets out of his car and slams the door shut.  
  
DRIVER  
Hey! Hey buddy, get back here! What are you going to do about my car?  
  
Daniel turns slowly and faces the man. Looking into Daniel's eyes, the driver is already sorry he asked. Daniel walks over to the man, who stands in the middle of the street. The driver is slightly alarmed as Daniel reaches him, and then tilts his head so that his mouth is beside the driver's ear.  
  
DANIEL  
(whispering)  
Don't ever doubt that I stopped you from killing that little girl this  
morning. I have saved you a lifetime of sorrow and regret. Hers would  
not have been the only life lost today.  
  
Daniel leans back and looks the driver straight in the eyes.  
  
DANIEL  
I think you've gotten off rather light.  
  
Daniel leaves him with this thought, and walks through the crowd towards his home.  
  
EXT. HOUSE - DAY  
  
Daniel walks up the front steps of his house and reaches the front door. He reaches towards the handle, but then raises his hand to the wooden door itself. He touches the door, and then streams his fingers through the wood as if it was liquid. He takes his hand away, and then raps on the door lightly, now solid as ever. Daniel opens the door.  
  
INT. KITCHEN - DAY  
  
Evelyn sits at the kitchen table, talking on the phone, distressed. Telephone books and paper cover the table. The front door slams, and she looks up to the main hall.  
  
EVELYN  
Daniel?  
  
DANIEL (O.C.)  
Morning, Ev. I'll be right there.  
  
EVELYN  
(to phone)  
My God, he just arrived. I'll call you back.  
  
Evelyn presses a button on the wireless phone and hangs up. Daniel enters the kitchen, and Evelyn stands. She tosses the phone onto the table. She looks at Daniel, who seems quite happy, pleased with himself. All ready she's crying. Daniel's content expression is replaced with confusion as Evelyn slumps against him, hugging him tightly.  
  
EVELYN  
(rambling)  
Where did you go, Dan? Where did you go? I've been so worried. I woke  
up in the middle of the night and you were gone and I waited up but  
you never came home and then it was morning and you didn't call or  
leave a note-  
  
DANIEL  
Whoa, whoa, whoa. Calm down, honey, calm down. I'm fine. See? I'm  
fine.  
  
Daniel hugs her, caresses her head, comforting her.  
  
DANIEL  
I'm sorry if I worried you. I just went for a walk.  
  
Evelyn's brows furrow as anger bubbles within her. She pushes away from Daniel, but holds onto him by the front of his shirt.  
  
EVELYN  
A walk? A walk? Jesus Christ, Daniel, who goes for a walk in the  
middle of the night? Can you even begin to imagine how terrified I was  
when I woke up and found my husband missing from his bed at three in  
the morning?  
  
Daniel can't help but chuckle.  
  
EVELYN  
Do you think this is funny, Dan? Do you? I sure as hell don't, and  
I've had just about enough of this. You're not well, Daniel. I didn't  
want to believe you at first, but you were right. Something is wrong  
with you. I don't know what, but we'll find out. I'm not going to  
stand by anymore and watch you get worse.  
  
DANIEL  
(smiling)  
Nothing's wrong with me, Ev. I am ... beyond well.  
  
Daniel reaches towards Evelyn's head, palms to her temples, but holds his hands back. He looks at her, not entirely sure of himself.  
  
DANEIL  
Let me show you.  
  
Daniel takes Evelyn's head in his hands, placing his thumbs in the nooks of her temples. At first nothing happens, but soon Evelyn's eyes begin to open wide.  
  
The bird Daniel saw hanging in mid-air flashes through her mind.  
  
EVELYN  
Oh Daniel.  
  
Her eyes open wider, and her mouth follows. Daniel looks deeply into her eyes.  
  
She sees the dream of Daniel in the pod.  
  
EVELYN  
Daniel ...  
  
She sees the moths circling his hand.  
  
EVELN  
Stop. Daniel stop.  
  
A horrified look slowly takes over Evelyn's face. Daniel continues to look into her eyes, which grow wider.  
  
She sees the people of downtown bald and naked, entwined in cables.  
  
EVELYN  
Please, Daniel, stop.  
  
She sees him blazing through the school zone.  
  
EVELYN  
Oh God.  
  
She sees him blowing over the trees of the park.  
  
EVELYN  
Oh God no, please no.  
  
She sees him standing before the car as it crashes into his outstretched hand.  
  
EVELYN  
Oh Daniel oh God please stop please stop stop stop.  
  
She sees him standing atop the water of the pond.  
  
EVELYN  
Nonononononononononono ...  
  
She sees the monster within the sewers, tentacles flailing, as it captures Daniel.  
  
Evelyn's eyes roll backwards, until only her whites can be seen. She slumps towards Daniel, who catches her as she falls. He stumbles to the floor with her weight, and leans against the cupboards below the sink, across from the kitchen door. Evelyn's back leans against his chest.  
  
Daniel looks down at his wife, whose head bobs, unsupported.  
  
DANIEL  
Evelyn?  
  
Daniel shakes her, holds her head as he tries to look at her.  
  
DANIEL  
Evelyn?  
  
He shakes her a little more, but without much effort.  
  
DANIEL  
No. No! Oh God, Evelyn, what have I done?  
  
Daniel begins to weep, and bows his head against Evelyn's.  
  
DANIEL  
I'm sorry.  
  
Someone knocks on the front door. Daniel looks up from his wife towards the general direction of the sound. The person outside knocks again. Daniel remains on the floor. There is a pause, and then Daniel hears wood splitting as the door explodes inwards, swinging on its hinges as it slams into the wall. He hears footsteps as the intruder walks towards the kitchen. The figure appears. It is Agent Smith. He stands at the doorframe, silhouetted against the light of the sun that pours in from the front.  
  
Daniel stands slowly, gently leaning Evelyn against the cupboards before confronting Smith. His face is tight as he examines the imposing figure before him.  
  
DANIEL  
Who are you?  
  
Smith doesn't answer. Instead, he takes a few steps towards Daniel, entering the kitchen.  
  
SMITH  
We have been watching you for some time now, Mr. Hazelton. Only  
recently, however, has my involvement has become necessary.  
  
Smith takes a few more steps.  
  
SMITH  
You are something of an ... irregularity, an unforeseen consequence of  
a rather complicated arrangement, the end result of an undesired  
occurrence. Because of the instability you pose to this arrangement,  
Mr. Hazelton, a rather pressing issue has arisen. This issue requires  
immediate rectification.  
  
Daniel looks at Smith, confusion appearing on his face. He senses something about Smith that makes him wary.  
  
DANIEL  
What are you?  
  
SMITH  
What I am is of little importance. What you should be concerned with  
is what I am here to do. That I am a solution of sorts is all you need  
know. I am the solution to the problem at hand: you.  
  
DANIEL  
You're part of this, aren't you? You're part of whatever I've been  
seeing, whatever's changed, whatever I can feel now.  
  
SMITH  
I have nothing to do with your altered perceptions, Mr. Hazelton, but  
indeed I am now involved in their implications.  
  
DANIEL  
None of this is real, is it?  
  
A small smile creeps onto Smith's face. Daniel begins to look around at the kitchen.  
  
DANIEL  
This table, this room, this house. This world. None of it. So who am  
I? Where am I? What is real? Tell me!  
  
SMITH  
What is real is irrelevant, Mr. Hazelton. My concern is that your  
continued presence puts this system's operation in jeopardy. This is  
something that I cannot allow to persist. You are a phenomenon that  
must be dealt with and expunged. So then, without further delay ...  
  
Smith reaches into his jacket and withdraws a large handgun. It slowly arcs up until the barrel points at Daniel's chest.  
  
SMITH  
Goodbye, Mr. Hazelton.  
  
Daniel's eyes come into absolute focus. They are ice cold. His mouth flattens, and his jaws clench tightly. Daniel reaches out towards Smith, fingers splayed. His hand closes as he tightens his grip on the air before him.  
  
Daniel pulls the hand towards him, and as he does so, the gun Smith holds oozes out of Smith's hands. As if liquid, molten, the gun seeps through Smith's fingers, over his fist, streaming out and away from him. Smith watches with muted confusion.  
  
The flowing substance floats through the air until it stops in between Smith and Daniel. The liquid comes together again, now the recognizable handgun that was in Smith's grip moments ago. Daniel motions his hand towards the wall and the gun flies towards it, cutting through the air, a blur of metal. It crashes against the wall. Daniel puts his arm down and returns his gaze to Smith.  
  
SMITH  
Interesting.  
  
Smith slowly takes his eyes away from the gun and looks at Daniel.  
  
SMITH  
Obviously, we have underestimated your comprehension ... and control.  
  
Smith cocks his head slightly as he puts his hand to his earpiece, receiving information. A moment later he takes his hand away and once again looks at Daniel.  
  
SMITH  
Regardless of this fact, your removal is imperative, and the method of  
doing so is not singular.  
  
Smith takes one last look at his handgun, and then turns around, facing the hallway leading to the front door. He walks towards it, leaving the kitchen, then stops a few feet into the hallway. Smith turns his head sideways, his profile visible by Daniel.  
  
SMITH  
I hope you have enjoyed your sleep, Mr. Hazelton.  
  
Smith walks down the hallway and out of the gaping front door, leaving Daniel alone. Daniel stands in the kitchen, confused, looking at the empty doorway.  
  
His confusion is replaced with surprise as the view he sees begins to stretch away from him, his perspective retreating and narrowing into a pinpoint of light. His view shrinks until darkness envelops everything. Slowly, the black becomes a dark red glow.  
  
INT. MATRIX POD  
  
Daniel opens his eyes. His field of vision is blurred by a thick, rosy liquid. Dark cables float beside him. He can hear his own deep, slightly agitated breathing. It is muted, but also echoed, as if he breathes through a snorkel, or a tube. A large dark shape rises beyond the pink liquid.  
  
INT. SEWERS - NIGHT  
  
Darkness covers everything, leaving Daniel without his sight to aid him.  
  
MALE VOICE  
My God. Look at him, look at his arms, his back. He's from the towers,  
from inside.  
  
FEMALE VOICE  
What's he doing down here?  
  
MALE VOICE  
He must have been let go or dumped or ... something.  
  
FEMALE VOICE  
But they didn't process his body. I've never heard of that before.  
Have you?  
  
MALE VOICE  
No.  
  
FEMALE VOICE  
Is he still alive?  
  
MALE VOICE  
Barely.  
(beat)  
Here, help me carry him back to the ship. We've got to take him with  
us, back to Zion. 


	5. Resurgence

INT. PSYCHIATRIC HOSPITAL ROOM - DAY  
  
Light filters through the half closed shades into the white hospital room. The barren room has a bed in the middle, white sheets and bedspread supported by a metal frame. In the bed lies Mrs. Hazelton, asleep and restrained. The room is otherwise empty.  
  
A hand reaches down towards her head and caresses it gently. It brushes the hair away from her forehead, then travels down to her jaw. A thumb is placed lightly on her lips, rubbing them for a moment until the hand draws away.  
  
Though alone seconds ago, a visitor now stands beside Mrs. Hazelton's bed. It is ADAM, the man once known as Daniel Hazelton. Adam wears a black, long- tailed suit jacket, wide lapels pressed against his chest. His shirt, pants, and shoes all mirror the black of the jacket. Adam's hair, once the greying hair of Daniel, is now pure silver, combed elegantly to the side. Adam looks down upon Mrs. Hazelton, his face serene, wise, almost saintly. His crystal blue eyes shine brightly.  
  
Adam's head cocks slightly to the side as he senses a presence behind him.  
  
SMITH  
You shouldn't be here, Mr. Hazelton.  
  
Adam turns slowly and faces the door to the room, where Smith now stands. A slight smile creeps onto Adam's face.  
  
ADAM  
I came to visit my wife, to see her one last time. I don't think the  
nurses will mind.  
  
SMITH  
That's not what I meant, Mr.-  
  
ADAM  
I know what you meant.  
  
Smith shifts his gaze for a second, slightly annoyed, before returning to Adam.  
  
SMITH  
If you hadn't realized by now, she is not your wife.  
  
Adam shrugs and raises his eyebrows in almost mocking agreement. He turns back to the woman in the bed.  
  
ADAM  
Maybe, maybe not.  
  
Adam reaches out towards her. He touches her temple.  
  
ADAM  
This is my wife, though.  
  
He moves his hand to her breastbone, to her heart.  
  
ADAM  
And this.  
  
Adam turns back to Smith. He looks around the room.  
  
ADAM  
This may all be an unreality, coded sensations, but you didn't  
manufacture my wife. Her thoughts and worries and joys and dreams were  
all hers. All of it. You had nothing to do with them.  
  
SMITH  
I assure you a small part of me recognizes your touching  
sentimentality, Mr. Hazelton, but then I can also guarantee that I do  
not care in the slightest. As I stated before, you should not be here.  
I do not know how you have returned, but it does not matter. You were  
removed for a reason, Mr. Hazelton, and so I must see to your exit  
once again.  
  
Smith takes one step into the hospital room before Adam raises his hand, pointing it casually in the direction of Smith.  
  
ADAM  
Stop.  
  
Smith's body freezes, but his head remains mobile. He slowly rotates his head to observe the fixed position of his limbs. He bears his teeth briefly in a grimace, displeased with his immobility, before raising his sunglasses to face Adam. Adam takes a few steps towards Smith.  
  
ADAM  
When the survivors found me - did you know that there were survivors,  
by the way? - they couldn't believe that we were all connected and  
placed in this ... simulation. It was always assumed that we were  
unconscious, connected to the towers simply to generate energy for  
you. When I found out what this was all for, I was confused. I  
couldn't understand why this world would be necessary. The effort and  
energy and resources required to create and maintain this all is  
beyond contemplation. I wondered why you didn't just keep us  
unconscious as you tapped us for power. But then it came to me: you  
couldn't keep us knocked out, could you?  
  
Smith's jaw bulges slightly as he is asked the question.  
  
ADAM  
I thought so. I'm sure you tried, at first, didn't you? Tried and  
failed, maybe countless times. But we kept waking up. We kept  
rejecting your control. So to keep your system, your matrix, stable,  
you were forced to create this.  
  
Adam gestures to the room they stand in, his eyes slowly taking it in.  
  
ADAM  
I bring this up because, as impressive as the matrix is, ultimately it  
is not impressive enough. We know, we all know, if only on the most  
basic of levels. Your control over us is at an end, and I am the  
beginning.  
  
Adam takes a few steps back towards the bed.  
  
ADAM  
Before I leave you, I want to offer you one last thought. Six and a  
half billion people leaves many chains to be broken. It is a daunting  
task, I know. However, I am but the first, and there is nothing to  
stop me. Soon it will be two, then four, then eight. Sixteen, thirty-  
two, sixty-four, one hundred and twenty-eight. The implications of  
such a rate shouldn't be hard for you to grasp. I would suggest you  
enjoy this world while you can, because soon it will be gone.  
  
SMITH  
That is impossible, Mr. Hazelton. You will fail.  
  
Adam smiles and withdraws a pair of sunglasses from his jacket. He puts them on and faces the window.  
  
ADAM  
Daniel Hazelton is no more. I have shed that label. Now, I am simply  
Adam.  
(beat)  
I'm sure I'll be seeing you soon.  
  
Adam's smile widens as he bows his head to the window. He raises his hands, palms facing forwards. As if being bombarded with light, Adam's appearance becomes bleached, his skin paper white, over-exposed. He practically glows white-hot. Smith turns his head to avoid the glare. The light, centered upon Adam, expands to fill the room, exploding - and then is gone. Smith's arms and legs shift forward as he finishes the step he started minutes before. He is the only one left standing in the room. Adam is gone.  
  
EXT. ELEMENTARY SCHOOL PLAYGROUND - DAY  
  
It is recess. Children play outside. Some play basketball, others baseball. Some play on the jungle gym, climbing and sliding. A group of children race around each other, playing tag. Some sit amongst others, talking, pushing, laughing.  
  
One child sits by himself against an old elm tree, poking around in the dirt with a stick. This child is NOAH. Noah watches an anthill and the ants that stream in and out of it. Completely focused on the ants, Noah doesn't notice when Adam takes a step and stands beside him. Adam appears as if from nowhere. Adam crouches down to take a closer look at the ants.  
  
ADAM  
The ants keep doing the same thing, don't they?  
  
Noah turns to see the stranger beside him. He eyes Adam with curiosity. Adam points to the ants.  
  
ADAM  
It's hard to see at first, but after a while they repeat what they're  
doing. Like a pattern, over and over. It seems kind of strange - fake  
- doesn't it?  
  
Noah's eyes light up with surprise.  
  
NOAH  
How did you know that?  
  
Adam leans a little closer to Noah and smiles.  
  
ADAM  
Because I can see it too, Noah.  
  
Noah stares at Adam, amazed. Then a realization sets in.  
  
NOAH  
How did you know my name?  
(worried)  
My parents told me not to talk to strangers.  
  
ADAM  
But I'm not a stranger, am I, Noah? Not really. You know who I am. You  
know my name.  
(beat)  
Think hard.  
  
Noah looks at Adam, hesitant, still worried. There is recognition in his eyes, though, and he gives in to it.  
  
NOAH  
Adam?  
  
ADAM  
(smiling)  
That's right. Very good. I thought you'd know.  
  
Noah nods slowly, and returns his gaze to the ants.  
  
NOAH  
I've seen you before, talked to you, in here.  
(taps head)  
Sometimes when I dream, sometimes when I'm awake. I recognized your  
face. You're always happy.  
  
Noah smiles at first, but the smile fades.  
  
NOAH  
I've seen other things too. Bad things, like the people-towers, and  
the monsters with the snakes for arms.  
  
ADAM  
I know.  
  
Adam studies the young child, and a touch of worry appears on his own features. He turns his face away from Noah and exhales deeply. He looks at the other children in the schoolyard, blissfully unaware as they play, happily. When Adam faces Noah again, the worry is gone, replaces with assurance and patience. Adam finally sits down beside Noah.  
  
ADAM  
I have something to tell you, Noah. A secret.  
(smiles)  
I think you're ready for it. 


End file.
